The new Dionic XT line of highly dependable, long-lasting, and rugged batteries will be shown in Europe for the first time at IBC2018. Dionic XT is the newest generation of Anton/Bauer’s highly popular Dionic battery series for broadcast and 14.4V cinema applications. Available in both V-Mount and Gold Mount, the high-performing and compact Dionic XT is a 14V Li-Ion battery capable of delivering up to 12A of continuous power for cinematographers, broadcasters, rental houses, and other customers for whom battery performance and reliability are essential.

Trickbox TV, a leading supplier of equipment and services for studio and location multi-camera productions for broadcast, video production, webcasting and live events, has announced the appointment of James Monks as Broadcast Engineer. In his new role, Monks will be instrumental in providing the high-quality broadcast technology services that Trickbox TV’s clients expect for studio, outside broadcasting, webinar and live streaming projects.

AKA Design has supplied the editing and audio desks for ITV Creative’s new post-production facility at Gray’s Inn Road, London, following a seamless move from the company’s original base at The London Studios. For the new facility, AKA produced 3D visuals of the edit suites and the audio studios, to enable coherent interior finishes, equipment layouts and client areas. This also made it simpler for the suites to be signed off by both the operators and the ITV Creative team.

Burbank, CA-based manufacturer of camera and lighting support for the entertainment industry, Matthews Studio Equipment, mantra is creating equipment that lasts. Support equipment that not only stands the test of time but adapts to all types of challenges. To make mobility even easier, MSE has developed the C-Stand Rolling Bag.

MultiDyne Fiber Optic Solutions has designated IBC2018 as the European debut ofSilverBack V, the latest innovation in its popular SilverBack series of camera-mounted fiber transport solutions. The industry’s first 12G- and 4K-capable camera-back system to incorporate an IP output, the SilverBack V elegantly enables the convergence of fiber and IP-based production workflows while building on the renowned flexibility and robustness of the SilverBack family. MultiDyne will demonstrate the SilverBack V at IBC2018 from September 14-18 at Stand 11.D40 at the RAI Convention and Exhibition Centre in Amsterdam.

Blackmagic Design announced today that URSA Mini Pro 4.6K, Pocket Cinema Camera and Video Assist were used for “LOUDER! Can't Hear What You're Singin', Wimp!,” a new film by hugely popular Japanese director Satoshi Miki.

For 10 years ShotPut Pro has been the preferred application for transfering media from camera cards to secure locations. Growing and developing with the media and entertainment industry, ShotPut Pro boasts fast offload speeds, the ability to pause and resume jobs as needed, multiple checksum verification, PDF reports with thumbnails and metadata, a color coded progress window and much more. Required by many major film and insurance companies, ShotPut Pro provide peace of mind when moving precious footage for both Mac and Windows users. Vist ShotPutPro.ImagineProducts.com for more information.

Aspiring music producers are being given the opportunity to follow in the footsteps of artists like Rudimental, Alicia Keys, Kanye West and Beyonce by recording tracks in the inspirational setting of Peter Gabriel’s Real World Studios in Wiltshire, England.

Trickbox TV, a leading supplier of equipment and services for studio and location multi-camera productions for broadcast, video production, webcasting and live events, has provided a range of outside broadcast services to Eden Sessions TV for its spectacular headline Gary Barlow concert. The show kicked off Eden Sessions’ summer of live music events, which was recorded on 6th June and was broadcast on BBC One on Friday 13th July.

“A Sound in Motion started as a camera test for the new Sony VENICE CineAlta 6K Digital Cinema Camera and evolved into a much bigger project. The film, presented by Golpe Filmes and released this summer, was directed/edited by Ricardo Teixeira. It is a fictional story based on the way deaf people adapt themselves to daily life situations. The intent of the film is to be a positive influence in the way people think about the ‘differences in human beings’ and about issues related to social inclusion, but without turning it into something moralistic or that seems fundamentalist. Through sounds not speech, words or verbal expression we want to relay a positive message and display a clear gaze upon that difference.”

That heart-dropping, cold-sweat evoking moment your external hard drive fails to connect to the computer and you realise the precious project you’ve been working on for weeks is lost for good (unless you want to spank hundreds on a recovery service that may or may not retrieve some of the mangled data!)

Filmmakers all over the world are embracing an affordable new route to higher-than-4K video recording. It’s just a few weeks since Atomos enabled support for 5.7K Apple ProRes RAW recording from the Panasonic EVA1 with the Shogun Inferno monitor/recorder, but filmmaker David Fernandes and DP Gregory Bennett have already become the first to use 5.7K ProRes RAW on a full-scale production.

At the time of writing, the summer World Cup is providing its usual challenge to camera crews trying to televise the bright sunlight of the stadium without losing detail in shaded areas such as the covered terraces. It is a perfect demonstration of the need for high dynamic range. Several broadcasters are experimentally covering this year's tournament in 4K HDR, including the BBC which is streaming dozens of matches via its iPlayer service. HDR is also accompanied by a wider colour space, meaning millions more colours can be displayed than previously. Yet another advance is the adoption of 50p delivery rather than traditional 50i.

I have a curious relationship with technology. I’ve been doing it all my life and I see topics come and go over the years. This is the 3rd time around that I’ve seen Artificial Intelligence become trendy and this time, I think it will stick. There are 4 things that are different this time around and they are (in alphabetical order) Amazon, IBM, Google, Microsoft. All of those companies have had AI research programs running for years, but the big change now is that there is enough ubiquitous compute resource in the form of the cloud to make it commercially viable to build products around the platforms.

Recent reports show pay TV in the US peaked in 2012 and will keep dropping over the next five years. Digital TV Research’s North America Pay TV Forecasts state the US will see a 20% drop between 2012 and 2023. Should the UK be readying for a similar change in consumer viewing, or is something different happening here?

As with all major events, planning for the Royal Wedding and surveying potential broadcast locations and securing reliable connectivity for video over IP workflows was top of mind for Canada’s Global TV. For major live broadcasts, in particular, when the entire world is watching, an extremely high degree of confidence is crucial because the live feeds need to be transmitted without fail.

ESL, the world’s largest esports company, relied on a full Blackmagic Design live production workflow at the inaugural League of Legends European Masters tournament. The new league launched this Spring, with the first split taking place in the UK, specifically, at the historic Haymarket Theatre in Leicester.

I am writing this in the middle of a record-breaking heatwave in southern England. Yet it is time to be thinking about the mists and mellow fruitfulness of autumn, or at least the predictably damp and chilly Amsterdam when IBC hits town.

What will be the hot talking points of IBC this year? I am not in a position to talk about what the big vendors will be showing: I have so far received just the one preview press release (take a bow, Calrec).

I currently find myself in between two landmark moments. A few weeks ago I was completely immersed in producing live television content,Â and in a few weeks time I will become an official BSc (Hons) Television & Broadcasting graduate from the University of Portsmouth. When I look back at who I was in my first year of university, I remember a shy girl from the other side of Europe, unsure at whether a career in television was the right path to take. Now, after three years of university, I can definitely say that I made the best choice of my life by choosing this degree. I’m leaving university confident and motivated, knowing that I made the right choice in study, and I really want that career in the television industry.

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